- With solid Double Plus (A++) sound on both sides, this copy of the Sibelius Violin Concerto boasts outstanding Living Stereo sonics from 1961 and a fiery performance from Heifetz
- It’s some of the best sound we have ever heard for the work, right up there with the Ricci on Decca/London
- The grading is conservative at Two Pluses; it might’ve actually deserved more
- The nothing less than breathtaking performance by Heifetz may raise this one to the rank of First Among Equals for those of you who prize immediacy and energy in your violin recordings
- If you have one of our killer Hot Stampers of the Beethoven or Tchaikovsky violin concertos, you know exactly the sound I am talking about
- “In the easier and looser concerto forms invented by Mendelssohn and Schumann I have not met a more original, a more masterly, and a more exhilarating work than the Sibelius violin concerto.”
Early Shaded Dog pressings of Heifetz’s records are known to have rarely survived in audiophile playing condition. Top quality early pressings in clean condition come our way at most once a year, which means shootouts for them get done infrequently. There are literally thousands of clean, vintage classical pressing sitting in our stockroom waiting for a few more copies to come our way so that we can finally do a shootout.
This copy plays quite well for a Shaded Dog. Side one plays Mint Minus Minus all the way through, with a little extra tickiness creeping in at the very end of the side.
Side two I am happy to report plays even quieter. It starts out Mint Minus Minus, but roughly three quarters of an inch into the side it begins to play more in the range of Mint Minus to Mint Minus Minus, and does so for the remainder of the side.
It’s practically impossible to hear that kind of string sound on any recording made in the last thirty years (and this of course includes practically everything pressed on Heavy Vinyl). It may be a lost art but as long as we have these wonderful vintage pressings to play it’s an art that is not being lost on us.
What the best sides of Heifetz’s recording of the Sibelius violin concerto have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1960
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
Classic did this title on heavy vinyl back in the day, which is only fitting since it is one of the better Heifetz recordings. Their version was pretty awful, as bad as LSC 1903, 1992, 2129 and others too numerous to list.
The Classic is both aggressive and lacking in texture at the same time, the worst of both worlds. Bernie’s cutting system is what I would call Low Resolution — the harmonics and subtleties of the sound simply disappear. If you have the Classic, do your own shootout. We guarantee this pressing will murder theirs.
The Cisco release of LSC 2577 was quite poor also. We never bothered to carry it. Positive review by Michael Fremer though, nothing new there. Is there any heavy vinyl pressing that he doesn’t like?
What We’re Listening For on this superb pressing
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Violin Concerto In D Minor, Op. 47
First Movement: Allegro Moderato
Second Movement: Adagio Di Molto
Third Movement: Allegro, Ma Non Tanto
Sibelius Violin Concerto
This is the only concerto that Sibelius wrote, though he composed several other smaller-scale pieces for solo instrument and orchestra, including the six Humoresques for violin and orchestra.
One noteworthy feature of the work is the way in which an extended cadenza for the soloist takes on the role of the development section in the sonata form first movement. Donald Tovey described the final movement as a “polonaise for polar bears.” However, he was not intending to be derogatory, as he went on: “In the easier and looser concerto forms invented by Mendelssohn and Schumann I have not met a more original, a more masterly, and a more exhilarating work than the Sibelius violin concerto.”
Much of the violin writing is purely virtuosic, but even the most showy passages alternate with the melodic. This concerto is generally symphonic in scope, departing completely from the often lighter, “rhythmic” accompaniments of many other concertos. The solo violin and all sections of the orchestra have equal voice in the piece.